Learn what one colorist thinks of DaVinci Resolve 15 Public Beta the first time he launches it. Not on the trade show floor in Las Vegas where he first saw it... but in quiet of his suite. And discover the huge new feature no one is talking about!
In this installment of the Color Correction Gear Head series, Robbie takes a look at the 2018 LG OLEDs (C8), the HD Fury Integral 4k, Aja 1616 12G Router, OWC Mercury HeliosFX and remote control application Splashtop.
Beauty work and re-touching can be a great additional source of income as a freelance colourist. Dan shares his thoughts and kicks off a new series on getting involved in retouching.
Where does the battle of OLED vs LCD sit today and what are their comparative advantages (and challenges)? The CEO of Flanders Scientific answers questions about the state of display technology in 2018.
We've all seen amazing commercials and films that inspire us, but how do we turn that into color corrections that we can use on our own projects? Dan shares his approach to being inspired by a recent award-nominated color grade.
In this special edition Mixing Light Podcast, Spectracal Technical Evangelist Tyler Pruitt joins Robbie to discuss LG's 2018 OLED monitors and various calibration issues like metamerism, colorimeter matrices and more!
While Fusion is a node-based compositor, its node tree is very different than the Color Page. Learn how to use Fusion in DaVinci Resolve 15 in under 15 minutes.
Dan Moran shares his thoughts on the best commercial color grade nominations 2018. Top work from excellent colorists are great sources of ideas.
The buzzwords at NAB 2018 were Artificial Intelligence and Machine Learning. This Insight is an introduction to those terms (for filmmakers). Learn how to put those buzzwords in context; and how they inform you about the technology being discussed.
In this special installment of the Colorist Podcast Josh sits down with Jason Myers and discusses NAB 2018. The duo shares their thoughts on Blackmagic, Autodesk, & Film Light announcements as well as new grading monitors.
In this Insight, colorist Joey D'Anna, fresh off demoing Resolve 15 at the Blackmagic booth at NAB 2018, shares his thoughts on the top new features that benefit the dedicated colorist the most in Resolve 15.
In Part 2 of this series you learn two different ways of using DaVinci Resolve's Parallel Mixer node. We take the theory from Part 1 and put it into action on real footage (from one of our Color Correction Practice Projects).
Can you prebuild a perfect node structure and use it to speed up your grading? Dan is taking a deep dive to find out how well it works, and if it's a genius idea or a total waste of time.
Learn about the 'Calibration Conundrum'... can you use low cost colorimeters and spectroradiometers to accurately calibrate your reference display? Or not?
In this installment of From The MailBag, the team discusses their 2018 NAB teaching plans and where to find Patrick on the show floor, and then we answer a members question about using a Harris DL860.
Silverstack is much more than just for downloading. Learn how to use its in-built color correction tools and management system to enhance the previsualization process and to visually communicate the DP's ideas from on-set color to post.
Understanding DaVinci Resolve's Parallel Mixer node is essential to eventual mastery of the software. In this Insight, learn how the Parallel node works and the difference between it and the Layer node.
In the last couple of years there has been a shift away from teal and orange to teal and yellow. Dan investigates that transition and looks at his own grades. He also asks do you miss teal and orange?
No, that's not Déjà vu! We're re-revisiting multi-channel audio output in DaVinci Resolve! In Part 1 of a new series, we'll explore the essentials of multi-channel output including using the 'Timeline Tracks' method, The Link Group behavior, and basic bussing.
In this insight, we take a look at the final pass on the bread short film. Dan looks at his matching with fresh eyes, checks his black and white levels and decides on the sharpening and grain levels of the film.
Editing Multicam clips can be a great workflow... unless you can't get real-time playback and your system keeps dropping frames. Learn how Resolve's optimized workflow can help you get back to real-time.